An Artistic Exile

Geremie R. Barmé is a Professor at the Research School of Pacific and Asian Studies, Institute of Advanced Studies, at the Australian National University. He is the editor of East Asian History and is author of In the Red (1999), Shades of Mao: The Posthumous Cult of the Great Leader (1996), and coeditor of New Ghosts, Old Dreams: Chinese Rebel Voices (1992). He was also an associate director and writer for the film The Gate of Heavenly Peace (Boston 1995), and is codirecting with Carma Hinton and Richard Gordon Morning Sun, a documentary film on the Chinese Cultural Revolution.

出版者:University of California Press

作者:Geremie Randall Barmé

页数:558

出版时间:2002-11-4

价格:USD 85.00

装帧:Hardcover

isbn号码:9780520208322

图书标签:丰子恺列文森中国研究书籍奖艺术史新文化史藝術史海外中国研究文學/文化批評宗教

This engrossing book, a brilliant blend of biography and criticism, tells the story of Feng Zikai (1898-1975), one of the most gifted and important artists to emerge from the politically tumultuous decades of the 1920s and 1930s. Barmé provides a closely woven parallel history, that of the life of writer-artist Feng, who was also an essayist and a translator, and that of China's turbulent twentieth century. He investigates Feng Zikai's aesthetic vision, its development, and how it relates to traditional and contemporary Chinese cultural values and debates.

Although Feng was known for his so-called casual drawings, he was reluctant to classify his art. According to Barmé, much of his writing and painting was rooted in a philosophy of self-expression. Difficult to position in relation to existing Chinese political and social nomenclature, Feng remains, to a large extent, an enigma. He was sympathetic to the average person and the impoverished peasant, yet he was a romantic, and often identified with the increasingly politicized intelligentsia. A devout Buddhist, he was a close observer of nature and children, and while his art appeared gentle, it often carried a strong message.

Much has been written about Feng Zikai, a figure who has become popular among elite and mass audiences in the Chinese world once more, but no other work has examined his place among May Fourth writers and intellectuals nor his position within the context of China's artistic, religious, and literary tradition. An Artistic Exile moves straight to the heart of debates surrounding modernization, religion, science, the essence of a tradition in an age of colonial modernity, and the ethos of political and social thought in twentieth-century China.

读后感

首先关注丰子恺老先生，最早还是翻看他的《认识建筑》，其中关于埃及法老建立金字塔的描述，老先生讲“坟的艺术”，印象尤其深刻。为什么死后要入土为安？老先生给的答案用了一个比喻：虫冬入土而春又复生，“入土”-“复活”的转换，无疑是一种原始而强烈的愿望。 到后来看老...  

提到丰子恺，我们的第一印象可能是关于他的诗意风格漫画，还有他的师父李叔同（弘一法师），以及他跟随弘一法师出家等等比较惹人眼球的“事迹”，在图书馆偶遇《逃难的艺术：丰子恺传》，也希望可以借此对丰子恺有一点浅薄的了解。 丰子恺一生也算是历尽坎坷，最终没能等到文革...  

——评《艺术的逃难》 文/蓦烟如雪 在《艺术的逃难》中，丰家的亲人让丰子恺不要再画画，他无视家人的反对说，“‘文革’中我承认我的画都是毒草，然而世间有一种人视毒草为香花，什袭珍藏。对此种人，我还是乐意给他们珍藏。”那些年他是‘异类’，但在如今他在世人眼里却...  

丰子恺的名字，随教科书里的插图飞入寻常百姓家。为人牢记的是他善于发现童趣的慧眼，是《护生画集》里博爱慈悲的佛教徒的心，是他谈起艺术史、建筑史的如数家珍，或许还有他生前的官衔身后的名。可是，谁曾了解他的失意呢？深爱故土的知识分子，不得不面临失乡之痛，离开予他...  

读书，一不留神就读出了人生。从前读过的丰子恺的种种，终究是浅薄了。在《艺术的逃难：丰子恺传》之前，只是心安理得地享受丰老先生贡献的甘美，浑然不知那些曼妙清幽的因果根底。若非澳大利亚学者白杰明的扎实研究，丰子恺一生的欢欣与无奈也就这么隐在了他的作品之后...  

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Meticulously researched and engagingly written, Barme's work is a model of empathetic biography that allows us to "feel" the subject. An important example and symbol of non-political artistic and literary engagement with the changing historical landscape, Feng Zikai deserved this study.